FEATURE:
That’s the Way Love Goes
Janet Jackson's janet. at Thirty
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RELEASED during…
IN THIS PHOTO: Janet Jackson in 1993/PHOTO CREDIT: Ebet Roberts via Billboard
one of the finest ever years for music, 1993’s janet. was the fifth studio album from the legendary Janet Jackson. This masterpiece came out on 18th May through Virgin Records America. I wanted to mark the approaching thirtieth anniversary of a hugely important album that broke barriers. Giving more sexual confidence and power to women – and inspiring so many Black women around the world -, janet. transformed her from a rising and sometimes shy Pop artists to this confidence icon. An album that provided liberation and power to so many, janet. promotes safe sex and respect, but there is this more risk-taking element. A feminist who was sending out positive messages but, in the process, experiencing this awakening and transformation. Janet Jackson has truly announced herself as an icon. Prior to the 1993 album’s release, Jackson was at the centre of a high-profile bidding war over her recording contract. Look back to 1991, where her original label A&M wanted to renew her contract. At the same time, Atlantic, Capitol, and Virgin all tried to sign her. After meeting with Virgin owner Richard Branson, Jackson signed with the label. The contract was worth an estimated $40 million - making her the world's then-highest paid musical act. There was criticism that Jackson was getting acclaimed and opportunities because she was part of the Jackson family. Not beholden to or reliant on Michael Jackson – who, in the early-1990s, was receiving a lot of press backlash and his best recording years were behind him -, Janet Jackson wrote the lyrics for janet. and co-produced every track.
The fact that the album drops her family name and makes her seem separate from that association showed that she was independent and was not good or popular because she was a Jackson. She was a sensation and success because of her raw and innate talent. In terms of its lyrics, janet. is very much about sexual intimacy and safety – this was a departure from her conservative image. Highlighting safe sex, but also confident and unabashed in its intentions and passion, the album set a record for the highest first week sales for a female artist at that time. It has since been certified sixfold platinum by the Recording Industry Association of America (RIAA). An album that definitely inspired future Pop superstars like Britney Spears, Christina Aguilera, and P!nk, janet. ensured that she was a worldwide success and one of the most important artists in the world. Albumism looked back at janet. on its twenty-fifth anniversary in 2018:
“If they’re doing it right, album covers should tell the story of an artist’s development. Janet Jackson’s album covers—at least through 1997’s The Velvet Rope—most definitely reflect her development from coy, shy ingénue to empowered familial chain-breaker to the militaristic activism of Rhythm Nation (1989).
By the time janet (commonly stylized as janet.) surfaced in May 1993, the cover explained more than adequately that any shyness had vanished entirely from Miss Jackson’s artistic expression. Tousled curls tumbled in front of a doe-eyed come hither look that could lure a blind priest to turn their back on God and, though the shot featured only arms, neck and shoulders, it was clear that her days of hiding behind black boiler suits and baseball caps were long gone.
In the years prior to the release Jackson became the subject of a bidding war to secure her services for record labels. A&M had been her home and wanted to renew their arrangement (unsurprisingly given the enormous success of Rhythm Nation), but others wooed her. She eventually signed with Richard Branson’s Virgin label for what was (at that time) a record-breaking contract valued somewhere in the region of $40 million.
Making her the highest paid musical act in the world, it drew a line under those nepotistic notions and set her up as another member of the club that required only a first name for recognition. It also meant that there would have to be some payback, but in the US alone janet sold nearly 8 million copies and worldwide it reached 14 million. Swift and immediate was the payback.
What marks janet as different from its predecessors is the expanded musical palette served up. Having practically invented New Jack Swing and further established the Minneapolis sound on Control (1986) and Rhythm Nation, Jam & Lewis’ same formula wouldn’t necessarily work in the musical landscape of the time.
A couple of collaborations stand out immediately as compelling and interesting. Chuck D of Public Enemy lends his sonorous, pile-driving vocals to “New Agenda,” while even more intriguing is the presence of Kathleen Battle (an operatic soprano) on “This Time.” But beyond imaginative guests, Jam, Lewis and Jackson created an intimate atmosphere that allows Jackson’s lyrics and vocals to breathe life into their sensual soundscape.
“If” is a pounding, fuzzed-up, nasty-sounding track that drips with the thrill of lust at first sight. The verses paint an intimate picture of what she imagines that she and the object of her imagination get up to: “You on the rise as you’re touching my thighs / And let me know what you like, if you like I’ll go / Down, down, down, down.” Yet the chorus banishes any thought of making the imaginary real, as the thought of infidelity proves a Rubicon not to be crossed: “If I was your woman, the things I’d do to you / But I’m not, so I can’t, then I won’t but if I was your girl.” Evidence that although a desire for sexual release runs through the album, the heart of the family girl remains intact.
The other gem that stands proud is “This Time.” Bristling with hurt and betrayal, it stands as further testament to the chorus of “If”—sexual self-expression may be the name of the game, but not at the expense of her humanity. Gentle acoustic guitar leads the way before the eerie and totally unexpected sound of Kathleen Battle’s operatic vocals float as if by regal decree. And then the beat drops in a moment that is as memorable and spine-tingling as any in Jackson’s extensive and memorable back catalogue.
The second half of the album is mainly given over to whispered, breathy ballads. Jackson may not have the strongest voice in the world, but she serves them up with natural aplomb and style. Although “Again” topped the Billboard chart for two weeks late in 1993, its saccharine sound proved too cute for some, but this was the exception to the rule.
Among the rest of the album lies the steamy, sensual sensation “Anytime, Anyplace.” Offering proof, if proof were needed, that a freedom of sexual expression runs through the album, its seductively slow syncopation envelopes and whispers sweet nothings of an explicit kind: “In the thundering rain / you stare into my eyes / I can feel your hand / Moving up my thighs / Skirt around my waist / Wall against my face.”
Although this can be characterized as Jackson’s sexual awakening, it should be noted that the vast majority of the scenarios presented are sexual within the confines of a safe, consenting, exclusive adult relationship. There are no Bacchanalian orgies or 23 positions in a one night stand, rather she gives voice to the needs and desires of millions of “ordinary” women in relationships. By voicing them so successfully she enables the same conversations to occur in bedrooms the world over—she empowers as she sings.
It would seem that beneath the surface of the sexual sheen lay the same sweet natured ingénue, albeit one ready to get what she desired. How long that sweetness would last would be revealed on her next album The Velvet Rope (1997). But for now the sweetness remained allied to a sexual confidence that sent the album into the stratosphere”.
Alongside Janet Jackson, there were incredible female artists like Madonna who were giving us these albums full of intimacy, sexuality and sweat. Madonna released Erotica in 1992. In 1993, when janet. arrived, there were these inspiring and trailblazing women taking control and, in the process, influencing and connecting with so many other women. I want to finish with a review from Rolling Stone from 1993. There was no doubt that, in that year, Janet Jackson was one of the most important artists in the world. She still is, but from her 1980s success with albums like Janet Jackson's Rhythm Nation 1814 (1989) to the regency of janet. and 1997’s The Velvet Rope, this was a superstar in a league of her own:
“As princess of America’s black royal family, everything Janet Jackson does is important. WHETHER PROCLAIMING herself in charge of her life, as she did on Control (1986), or commander in chief of a rhythm army dancing to fight society’s problems (Rhythm Nation 1814, from 1989), she’s influential. And when she announces her sexual maturity, as she does on her new album, Janet., it’s a cultural moment. Start the clock: Janet Jackson, who suggested, “Let’s Wait Awhile,” and cooed, “Someday Is Tonight,” has been to the mountaintop and is ready for mo’!
Where “Someday Is Tonight” — the nervous breathiness of a virgin about to take the plunge — left off, Janet. picks up: in postorgasmic bliss. From the warm bed of soul sounds backing “That’s the Way Love Goes” to the “Come for me!” command that kicks off “Throb” to the love-filled exhibitionism of “Any Time, Any Place,” Janet. declares this woman ready to love and make love — and fuck.
Underrated but never under-bought, Jackson’s MTV-friendly image and in-concert lip-syncing have earned her more undeserved blows than Robin Givens. Janet.‘s complex sexual and diverse musical statements should win her critical respect along with pleasing her octillion fans. Janet.‘s Janet is a more complete sexual being than most of pop’s black women are allowed or allow themselves to be. No Hottentot Venus (an objectified, sexually available black female) exploiting her legs (Tina Turner), hair (Neneh Cherry) or blackness (black drag queen Madonna), Jackson evades reductive sexuality by demanding love and respect from both her partner and herself. She wants you to touch her, and love’s got to do with it because “that’s the way love goes.” Janet won’t stand for a trade-off — she wants love and sex.
Dignity firmly in pocket, Jackson is ready to try anything. You can view her various styles as a plethora of different positions. Janet. touches R&B, hip-hop, soul, funk, rock, house, jazz and opera with the singer’s pop sensibility. The mix may lack purity, but the ambitious choices and flexibility leave a bold impression.
Bold indeed are the juxtapositions of Jackson with opera star Kathleen Battle and Public Enemy’s Chuck D. Battle’s voice soars and sounds like an instrument imitating the human voice on “This Time,” while “New Agenda” finds Jackson gliding over hip-hop-inspired beats as Chuck bursts through. The lyrics of “Agenda” follow that same pattern: It fits a Jackson to write a song demanding a new program and leave the rapper to propose the plan.
On Control and Rhythm Nation, Jackson’s collaborators, producers Jimmy Jam and Terry Lewis, were hotter than a flame’s bright yellow center. Those albums are exemplary late-Eighties state-of-the-art R&B. But the Jam and Lewis fire no longer cracks and roars as it once did. Predictably, Janet shares the bill this time as coproducer, resulting in a less groundbreaking sound but a wider-ranging album.
The seventy-five minutes of Janet. are less long than long overdue. A significant, even revolutionary transition in the sexual history and popular iconography of black women — who have historically needed to do nothing to be considered overtly sexual — is struck as the what-have-you-done-for-me-lately? girl declares herself the what-I’ll-do-to-you-baby! woman. The princess of America’s black royal family has announced herself sexually mature and surrendered none of her crown’s luster in the process. Black women and their friends, lovers and children have a victory in Janet”.
As it turns thirty on 18th May, I wanted to spend some time with a truly astonishing album. The magnificent and timeless janet. is an album that is so widely played and enjoyed to this day. With gems and classics like That’s the Way Love Goes, Because of Love and (hidden track) Whoops Now, there is no denying that this album will be talked about for years to come as…
ONE of the best ever.